y separately published work icon Australian Poetry Review periodical issue  
Issue Details: First known date: 2023... no. 18 2023 of Australian Poetry Review est. 2006- Australian Poetry Review
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Contents

* Contents derived from the , 2023 version. Please note that other versions/publications may contain different contents. See the Publication Details.
Rereadings VII : Michael Dransfield : A Retrospective, Edited by John Kinsella, Martin Duwell , single work review
— Review of Michael Dransfield : A Retrospective Michael Dransfield , 2002 selected work poetry ;

'In just over one hundred days it will be fifty years since Michael Dransfield’s death in 1973. A half a century, as I have observed elsewhere, is a very long time in literature, especially modern literature and especially modern poetry whose history – influenced at least partly by the accessibility of poetry from what were, in the past, unavailable cultures and languages – is inclined to develop at breakneck speed. With a nice harmony, it is twenty years since the publication of this retrospective edited by John Kinsella which, itself, appeared after the two major contributions to understanding Dransfield’s life and work: Livio Dobrez’s Parnassus Mad Ward: Michael Dransfield and the New Australian Poetry (1990) and Patricia Dobrez’s biography of 1999.' (Introduction)

Peter Bakowski : Our Ways on Earth, Martin Duwell , single work review
— Review of Our Ways on Earth Peter Bakowski , 2022 selected work poetry ;
'Contemporary poetry, at least for the last two centuries, has often been accused of obscurity and difficulty. True, this may be a result of woolly thinking or bad writing, but it can also come from a desire to push into unknown territories: territories of language, of the inside of human minds and emotions, and, more recently, of texts themselves. It’s rare to find a poet who is simultaneously comprehensible at a single reading and also poetically and thematically sophisticated. Peter Bakowski has always seemed someone with his hand in the air offering to step into this breach. And there is nothing accidental or unconscious about this.' (Introduction)
 
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Sarah Day : Slack Tide, Martin Duwell , single work review
— Review of Slack Tide Sarah Day , 2022 selected work poetry ;
'Sarah Day’s new book begins with a prose quotation which explains its title. One might think that the moments between outgoing and ingoing tide barely need definition but the passage, in pointing out that though the water surface may appear placid, there are likely to be important and often conflicting currents running underneath, fits Day’s poetry so perfectly that you can see why it was included. Day has always been a poet sensitive to the complex phenomenon that might be called “what lies beneath” and the way in which this interacts with what lies on top. The title poem of her first book, A Hunger to be Less Serious, is a description of traffic being halted at a canal bridge which opens to let a boat pass through. It’s an emblematic scene that is rich with allegorisable possibilities: the drivers and passengers leave their cars to watch the boat pass serenely at eye-level, “carrying on board a gleaming catch / of strayed dreams and wish-fulfilments”, for example. But it is also a scene in which the drivers imagine driving onto the bridge as it opens and then crashing into the water: “The water-surface puckers with the quick current, / underneath, the grey deepens steeply; / its effect is sobering, satisfying”. A memorable poem from a later book, The Ship, describes a town suffering from the subsidence caused by centuries of mining so that when a house is sinking, its occupier “took it as given that a far distant / farmhouse had risen to view from an upstairs window”. Here the cumulative misery of the mining life of the past is what “lies beneath”, as the poem says, “far, far below on thought’s periphery”.' (Introduction) 
Peter D. Mathews : From Poet to Novelist : The Orphic Journey of John A. Scott, Martin Duwell , single work review
— Review of From Poet to Novelist : The Orphic Journey of John A. Scott Peter D. Mathews , 2022 single work biography ;

'One of the defining motifs of John A. Scott’s poetry and prose is the recurrent notion of an underground lying beneath the surfaces we are accustomed to treading on. It is the source of his interest in the myth of Orpheus – who ventures into one version of that underground in search of Eurydice – and the complex notions of creativity and death which, following Rilke and the late nineteenth century French poets, he teases out and deploys. There are many other undergrounds from the sewers of Paris in Before I Wake to the network of tunnels which underlie the reality of the events of N and connect distant times and places as well as distant and dissonant voices. The imperative for poor Telford in N is expressed by the sinister Esther Cole when she tells him that, if he is to uncover how her husband died, he will have to “dig deeper . . . not just for my sake but for yours”. Digging deeper is also the imperative that lies behind good criticism, differentiating it from material that considers that its task is, Petronius-like, to separate “good” from “bad”, and from material that thinks that its main function is to bolt a specific, contemporary interest onto a defenceless text and see how it matches up. Peter D. Mathews’ book, From Poet to Novelist, is an example of good criticism in that it sees its function to be to tease out what the underlying generative structures in Scott’s work are. It’s not an easy task since Scott’s books are, for all their superficial attractivenesses, immensely complex in construction.' (Introduction)

Note: Posted on 1 May 2023
Dominic Symes : I Saw the Best Memes of My Generation; Pam Schindler: Say, a River, Martin Duwell , single work review
— Review of I Saw the Best Memes of My Generation Dominic Symes , 2022 selected work poetry ; Say, a River Pam Schindler , 2023 selected work poetry ;

'The initial pleasure in connecting these two excellent books derived from what seemed their absolute difference. It was both rewarding and fun to actually read poems from each book alternately and I was tempted to structure what I want to say about them by seeing them as opposite poles of the poetic spectrum: the one being tonally inclined to the wry and in terms of subject matter very much about how we are located in the (comparatively) new digital age; the other, tonally serious and thematically concerned with how we live and interact with the natural world. A little thought showed this to be misguided: there are far more alien outposts in the map of poetry than these: “language” poetry, found, conceptual poetry, the various forms of text-fiddling, multi-authorship poems, and so on. In fact, thinking of as much of contemporary poetry as I know and imagining it as a map or many-cornered geometric shape, these two books would occupy a reasonably central position and might even be able to speak to each another.'

Sarah Holland-Batt : The Jaguar, Martin Duwell , single work review
— Review of The Jaguar Sarah Holland-Batt , 2022 selected work poetry ;

'Sarah Holland-Batt’s brilliant new book is very much built around her father’s long illness and eventual passing. Not only is it the subject of the book’s first of four sections but the final section, which looks like being – like the third section of her previous book, The Hazards – about place and culture, is distorted, as it progresses, into poems about firstly her grandfather and his place – Gibraltar during the war – and finally her father in the long concluding sequence, “In My Father’s Country”. Not that readers of Holland-Batt’s work won’t have met the father before. He appears in “The Woodpile” an early poem of her first book, Aria, chopping wood in what seems to be a symbolically significant scene: the stacked wood encourages decay and various kinds of spider although “the heartwood burnt longest”. And in “Embouchure” and “The Flowers on His Bedside Speak of Eternity”, both from The Hazards, we re-encounter him, this time in a serious stage of the illness. The grandfather, especially his painting, also appears in two poems of Aria. In the light of the intense focus of The Jaguar, these seem like preliminary sketches, poems more interested in the poet’s unease than in forensically describing the father’s illness and seeing how something so extended and debilitating can be approached by poetry. We also find a reference to her father’s death in her excellent book of brief studies of individual Australian poems, Fishing for Lightning, when she looks at Brendan Ryan’s “A Father’s Silences” as an example of elegy. She has a response that reminds me of my own when my first child was born: astonishment at the fact that the world seemed to be going on in its ordinary way as though it were unaware that something earth-shattering had occurred. Of course, she met with “things dying, I with things newborn”.' (Introduction)

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Willo Drummond : Moon Wrasse, Martin Duwell , single work review
— Review of Moon Wrasse Willo Drummond , 2023 selected work poetry ;
'This is a complex, intriguing and quite exciting first book. The central two (of its four sections) are a kind of poetic search, not for the various certainties or states that poets yearn for, but for a single poet, Denise Levertov. As a long time admirer of Levertov – surely the most likable (and one of the most rewarding) of the post-war school of American “New Poets” – I’m immediately well-disposed and it’s a disposition carried through the other poems of Moon Wrasse. Of course, it raises the question of what one wants from “pursuing” another poet. A poet wants poems, perhaps, as an intellectual wants a better and fuller understanding. But another poet always remains, ultimately, out of reach: the quest valuable but the grail unobtainable. You can feel this in poems like “On Finding and Not Finding Levertov” and “Cedar Tree” in which Drummond visits Valentines Park in Ilford, a place looming large in Levertov’s childhood. In the first of these the issue is one of maturity: the difficulty is to try to see the world through the eyes of a child, even if the child is a nascent poet experiencing the “double vision” of places both in their ordinariness and in the more vibrant life within them, a vision which is the basis of Levertov’s first book, published in England before her emigration to America. “Cedar Tree” is a poem of frustration: touching the tree doesn’t produce the frisson of connection with the poet. ' (Introduction) 
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Philip Hammial: Dervishing, Martin Duwell , single work review
— Review of Dervishing Philip Hammial , 2023 selected work poetry ;

'It’s always good to revisit the amazing world of Philip Hammial’s poetry, described with impressive accuracy by a quote on the cover as “a torrent of mischief, dark humour, idiosyncratic construction and invigorating chaos.” Dervishing is a two-part book made up of twenty-five pages of poems and nearly sixty pages of prose pieces. All but three of the poems are in one of Hammial’s familiar poetic modes, fairly extended pieces which are “surreal” in that their energy seems to derive from internal transformations as much as subject matter and which almost always create a shape by, in the last lines, returning to the opening statement or a variation thereof. And these openings are usually quite intense eruptions of a strong and slightly garbled speaking voice: “Only one Exit: climb the wolf ladder to the sheep sky & / jump”, “Work your Jesus: rob your hands of their money”, “Man must truss!”.' (Introduction)

Note: Published 1 October 2023
Rosanna E. Licari : Earlier; Amy Crutchfield: The Cyprian, Martin Duwell , single work review
— Review of Earlier Rosanna Licari , 2023 selected work novel ; The Cyprian Amy Crutchfield , 2023 selected work poetry ;

'Books of poetry are usually more than a random dump of poems. They, like the poems they contain, tend to have a structure, sometimes loose and sometimes very tight. Its function might be positive: to show the poems up in the best light by putting the strongest ones first, for example. And it might be defensive: to resist a charge of randomness or to place poems near each other so that they give each other some support and deepen the context of any single work. Both these books – Rosanna E. Licari’s Earlier and Amy Crutchfield’s The Cyprian – raise the issue of book structure: it’s likely to be one of the things that a reader notices early on.' (Introduction)

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Andrew Taylor : Shore Lines, Martin Duwell , single work review
— Review of Shore Lines Andrew Taylor , 2023 selected work poetry ;
'Although it might not be a word that one would want to use too much in serious criticism, Andrew Taylor’s Shore Lines seems a more secure book that the previous Impossible Preludes. And part of that sense of secureness might derive from the opening two poems that are something of a coup. The first, “The Grave by the Sea Called ‘Granny’s Grave’” could be described as a retrieved poem about a retrieved history. Written in 1981, it is about a grave on the Warrnambool coast dating to 1848 and said to be that of the first white woman to die in the area. It was subsequently either misplaced or deliberately omitted from Taylor’s later books. As a stand-alone poem it would certainly have been worth including in its natural position in the “New Poems” section of his UQP Selected Poems and was only “rediscovered” by local historians researching the matter of this early grave. It’s a very “Taylorish” poem, stylishly literary – it is supported at either end by allusions to Valery’s great poem about the cemetery by the sea – and meshing in with Taylor’s poetic obsessions in that this is a grave on the coast, on the meeting place of sea and land. If you live in South Australia, the sea is the Great Southern Ocean and many of Taylor’s poems celebrate its erosive effect on the soft rocks of that coast. Mrs Raddleston, the name given on the basalt headstone, died in the same year as the great uprisings of Europe, a rather different sort of erosion. “Mrs Raddleston”, leaving Europe either forcibly or by free will, “came finally aground on this great wave of sand” which is itself unstable since the wind and the sea are always threatening to move or overwhelm the grave.' (Introduction)
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